About Rebecca
Rebecca Sorensen has been immersed in music since the age of five, beginning with piano studies. Her teenage years were shaped by years of flute and piano practice, musical theater and acting until a chance event at age fifteen shifted her musical path. A friend—an aspiring classical pianist—convinced her, despite initial hesitation, to attend a performance of Lucia di Lammermoor at the Lyric Opera of Chicago. That unexpected Christmas gift proved to be life-changing; by intermission, she knew she wanted to pursue opera.
With extensive training in the United States, where she had the opportunity to study with renowned singers such as Jane Bunnell and Susanne Mentzer, Sorensen has built a rich and multifaceted career. Equally at home in Baroque and contemporary repertoire, her talents span folk music, opera, recital, and chamber music. With a strong background in theater, Sorensen delights in bringing characters to life on stage, infusing each role with depth and passion. Before settling in France, she lived and worked in Germany for six years, further enriching her international experience.
Now based in Bordeaux, she was recently acclaimed for her performances at the Grand Théâtre de Bordeaux as Violetta in La Traviata and Musetta in La Bohème, and at the Auditorium de Bordeaux as the soprano soloist in Fauré’s Requiem and Honegger’s Le Roi David.
Alongside her operatic career, Sorensen is exploring new musical territory through her unique project, Folklyrique. The project blends her love of classical and folk traditions, as she accompanies herself on a range of traditional instruments including guitar, ukulele, mountain dulcimer, autoharp, and harmonium.
Her passion for music is grounded in a profound belief that music and sound are vital, transformative elements of the human experience. This conviction deepens as she explores both ancient traditions and contemporary scientific research on the healing power of sound. Through leading workshops, she empowers people of all voices to discover and experience the liberating and restorative potential of their own vocal expression.
